Born+To+Run+-+Studio+Sessions

include component="page" page="content_legendott" wrap="1" code Commercially Released: September 1, 1975* Produced by Bruce Springsteen, Jon Landau and Mike Appel** Recorded May 1974-July 1975 at The Record Plant (New York City) and 914 Sound Studios (Blauvelt, NY) Recording Engineers: Jimmy Iovine (Record Plant) and Louis Lahav (914 Sound) code ``*`` a small quantity of blank label, advanced promo copies (called “Script Covers”) were issued to VIPs about August 12, 1975. Normal promo copies were sent to radio stations on or about August 24. ``**`` the track “Born To Run” was produced by Springsteen-Appel

Part One - Born To Run Sessions Overview

The //Born To Run// album sessions spanned a 14-month period, from May 1974 through July 1975. Unfortunately, //Wings For Wheels//, the official documentary on the making of the album, fails to delve into any depth about the sessions. So very little can be gleaned by watching that documentary. The //Born To Run// sessions can be roughly split into two general phases:


 * PHASE 1 SESSIONS -** Conducted at 914 Sound Studios from May 1974 through October 1974. These sessions did not include Jon Landau, Steve Van Zandt or (seemingly) any session musicians. These were widely scattered sessions conducted while the band was on tour. Sessions took place in 1974 on May 11-22, early June, August 1-8 (when a version of “Jungleland” was recorded – click [[file:brucebase/jungleland-tb.jpg|here]] to see an image of the master tape for this recording, note the date written by Louis Lahav in the European d/m/y format) and October 16-17. There may have been further sessions at 914 Sound from this era undocumented. With the exception of the album's title song, “Born To Run”, little else (official or unofficial) seems to have ever leaked out from these numerous sessions. Much intrigue remains about what was recorded during this May-October 1974 period. The primary reason for moving from 914 was equipment failure and technical hitches in the studio delaying the recording process.


 * PHASE 2 SESSIONS -** Conducted at The Record Plant from March through July 1975. These sessions included Landau, Van Zandt and outside musicians and began immediately following the end of the WIESS Tour in March, continuing at an increasingly frenetic pace right up until the start of the Born To Run tour in late July. With the exception of the album's title song virtually all the audio (official or unofficial) that has ever leaked out has been from these sessions. Final mixing (including 914 Sound Studio material) was undertaken at The Record Plant.

Part Two - Born To Run Sessions Details

Note: First song written for the third album, at Springsteen's rented cottage at 7½ West End Court in West Long Branch. According to Bruce, the entire writing and recording process took six months, which suggests it began in early 1974. V1 is a full-band “instrumental” version (vocals are missing) recorded at 914 Sound Studios on May 21, 1974. V2a is the official album version, recorded at 914 Sound Studios on August 6, 1974. The final version was mixed down from seventy-two tracks to the sixteen available at 914 Studios. V2b is an edited version of V2a, with a middle verse and the sax solo deleted. This was released by Ktel-CBS in Australia-only in early 1976 on a multi-artist LP called //Supersounds//. V2c is the advanced tape release of the official version, first aired on WMMR in Philadelphia on November 3, 1974 and subsequently broadcast by several USA radio stations during November 74-July 75. The difference between V2a and V2c is almost imperceptible. V2d thru V2g are all mix variations of the same core recording (some consider them entirely different takes) and feature various permutations of double-tracked vocal, choir, and strings. A stereo fold-down mono version is also available as the b-side of the white label promo 45. Features David Sancious on keyboards, and Ernest 'Boom' Carter on drums - his only appearance on //Born To Run//. The original working title may have been "Glory Road" - see Part Four below. Note: The first circulating live performance was on July 13, 1974, although it is believed to have been played live earlier than this. An initial recording of the song was made at 914 Sound Studios on August 1, 1974, although this outtake is un-circulating. Bruce continued to tinker with and refine the song over the course of the next few months. All the above-noted studio takes appear to emanate from the later sessions at the Record Plant. V1 is a full band version (including Suki Lahav) (take #16) recorded in April 1975. V2 is merely the song coda. V3 features string overdubs and is in exceptional sound quality. V4 has no strings and doesn’t feature the guitar heard on the official version. Studio logs show takes were recorded on April 18, 23 and 25, 1975, with further work undertaken (probably mixing sessions) on July 14, 19 and 20. A 1974 document indicates that "Jungleland" was a candidate for the title of the album, as well as several phrases taken from the lyrics, "The Hungry and the Hunted", "From the Churches to the Jails", and "Between Flesh and Fantasy". Note: The earliest audio-circulating live performance was at Avery Fisher Hall in New York on October 4, 1974. V1 is a rough extended workout from The Record Plant in March 1975, with some lyrics in the final verse that ended up used in “Backstreets”. V2 is a more refined version from The Record Plant sometime April or May 1975 with the “Backstreets” lyrics removed. The album version was recorded April/May 1975, with further work undertaken on July 24-25, 1975, according to studio logs. Note: The first live performance was on February 5, 1975. All of the recordings listed above are from The Record Plant during March-June 1975. Logs show takes were recorded April 18-19 and 23, 1975. Further work (probably mixing sessions) were undertaken July 15-16, 1975. V1 is a haunting acoustic solo version – one of Bruce’s greatest studio performances. Its absence from //Tracks// is baffling. Part of V1 can be heard around the 21-minute mark of //Wings For Wheels//, the documentary about the making of //Born To Run//. V2 is a base rhythm track with guide vocal (no organ or sax) and (like V1) features the girl’s name Christina, not Mary, while early live performances used the name Angelina. V3 is more developed than V2 and includes sax. V4 features a very long instrumental intro and more sax. Bruce lifted the title from a 1958 Robert Mitchum movie, a poster of which he saw in the lobby of a movie theater. Note: All of these recordings date from April-July 1975 period at the Record Plant. V1 is an early take (possibly from April 25, 1975) with a guide vocal and some bluffed or alternative lyrics. V1a does not feature strings. A cut short 3.12 recording circulates on some private CDR sources; this is the same take and mix as V1a. V1b utilizes different guitar in the mix than V1a. There appears to be two different mixes of V2 (some people consider them entirely different takes); V2a has strings added, while V2b is without the strings. V3 is a later take with finished lyrics. V4, the officially released version, is a different take. According to studio logs takes were recorded April 25 and May 19 and 23, 1975 with further work (likely mixing sessions) undertaken on July 6 and 18, 1975. Note: Ten takes recorded at the Record Plant on May 10, 1975. Take 8 was marked 'Great - Hold', which suggest this one was the recording used for //Born To Run//. The three recordings above are all different performances. V1 is core rhythm track with guide vocal and guitar. V2 includes double tracked vocals. Included in a possible album sequence of late-autumn 1974. First line of the song was re-used from Springsteen's Steel Mill composition "Oh Mama", from 1970. Note: Not written by Bruce until late April or May 1975 – working title was “The Heist’ and that title was utilized even on test pressing of the album. V1 contains just piano and vocal, features some different words and may be Bruce’s original guide demo. V2 (take #14) and V3 (take #15) are quickly aborted takes. V4 (take #16) is shorter and uses an alternate horn arrangement. All likely recorded May 28, 1975. Included on a July 2 album sequence. Note: One of the last songs recorded for the album, on May 5 and 16, 1975. Steve Van Zandt co-arranged the various horn parts. V1 is a brief snippet of the tail section of what appears to be a different performance. V2 is an early, complete take that was originally broadcast on E Street Radio in late 2005. This take has some considerable lyrical differences to the released version and has Springsteen phrasing the horn parts during the opening. A stereo fold down mono version is also available as the b-side of the white label promo 45. Note: Two different recordings, although similar. V1 (recorded either May 8 or 19) has a more tentative vocal and is shorter (or the tape speed is running too fast). V2 was recorded at The Record Plant on June 29, 1975 (not June 28, as found in the //Tracks// liner notes) and features a much stronger vocal, a different intro and a different sax part. Further work undertaken (either mixing or overdubs) on July 8. Springsteen recorded two different versions on June 29, a 'hard slow version' and a 'ballad version'. Considered for the original album but bumped in favor of “Meeting Across The River”. Note: Much confusion surrounds the exact recording date of this song. The //Tracks// notes claim that it was recorded 1/6/74 (January 6, 1974) - this is clearly incorrect, since Bruce was on the road embarking on a three-night stand at Joe's Place that day. The Record Plant is listed as the recording venue, but that doesn't make sense either given they were recording at 914 Studios at that time. It's likely that the confusion arose from Louis Lahav writing dates in the European format, therefore "So Young" was actually recorded June 1, 1974 at 914 Studios, the same week that Springsteen was at 914 working on "Born To Run". In interview Springsteen has related this song to the //Darkness// sessions, but we can only assume that his recollections are faulty. By September 1974 Bruce had tinkered with the lyrics, reinventing the song as "A Love So Fine". See below for more detail. Note: Also known as "Lovers In The Cold". V1 is a rough, clearly unfinished take probably recorded at 914 Sound Studios around August/September 1974. V2 is the completed recording. Springsteen mentioned in interview in 1999 that he had wanted to release this song on //Tracks// but they were unable to locate the completed take in the archives – so whether V2 has been misplaced, misfiled or accidentally destroyed remains a mystery. The //Wings For Wheels// documentary (at about 40:55) shows a Record Plant reel with a label that indicates that at least two complete takes of "Walking In The Street" were recorded on May 28, 1975. This could well be the missing reel, but we can't be certain. Springsteen later taped a rehearsal at Monmouth Post Theater in January 1999, perhaps with a view to recording and issuing "Walking In The Street" on //18 Tracks// alongside "The Promise". This suggests he never completed it in 1975. Note: Recorded at The Record Plant on May 4-5, 1975. This long-documented song finally surfaced (along with other previously uncirculating //Born To Run// studio session audio) in late 2005 during broadcasts by Sirius radio. The version that has surfaced is clearly only an unfinished, early workout. This early May recording is the only mention of the song in studio logs. Included on a July 2, 1975 album sequence. Early working title may have been "Lonely Night At The Beach". Note: A version was recorded at 914 Sound Studios on October 16, 1974. It is unclear if the long-circulating backing track found on //War And Roses// and //Born In The Studio// emanates from this October 16 session or whether it's from the 1975 sessions at The Record Plant, but 1974 seems most likely. Although it may have been played live sooner, the earliest circulating confirmed and recorded performance of “A Love So Fine” is from September 22, 1974. This particular version is especially interesting since the chorus is sung "A Night Like This", however by the time the next gig came around at Avery Fisher Hall on October 4 the chorus had changed to the familiar "A Love So Fine". Going by a newspaper review, it's likely that the "A Love So Fine / A Night Like This" hybrid was also performed at The Main Point on September 19. Bruce then performed the song live (as "A Love So Fine") on a semi-regular basis through August 1975, but never since. It's worth mentioning that "Action In The Streets" and "Paradise By The C" share some musical aspects with "A Love So Fine" and "So Young And In Love". This song bears no relationship to The Chiffons early '60s hit except the use of a common title. Note: Recorded at 914 Sound Studios on October 16, 1974. There is only one live performances known, which happens to exists as an audio recording: the acoustic opener in Toledo on June 2, 1974, with Bruce introducing it as a “new song” but not mentioning the title. Known among collectors by the titles “Angel Baby” or “Dance On Little Angel”. Core elements of the lyrics (though not the melody) of this song were later incorporated into “Lonely Night In The Park”, a track recorded in the spring of 1975 at The Record Plant. Note: Originally recorded by Springsteen at 914 Sound Studios as a piano solo publishing demo in January 1973. Session log documents indicate that a Spanish-flavored, full band arrangement of this song was recorded at some point during the //Born To Run// sessions, probably at 914 Sound in late 1974. Listed in the earliest known album #3 sequence, from spring 1974.

Part Three - Additional Born To Run Sessions Musicians

1) **Suki Lahav** plays violin on “Jungleland” 2) **Charles Calello** arranged and conducted the strings on “Jungleland” as well as all the strings and choir effects heard on un-issued mixes of other songs from the sessions 3) **Mike Appel** provided background vocals on “Thunder Road” 4) **Richard Davis** (who had previously played upright bass on the //Greetings// track “The Angel”) plays bass on “Meeting Across The River” 5) **Randy Brecker** plays trumpet on “Meeting Across The River” and “Tenth Avenue Freeze-Out” 6) **Michael Brecker** plays tenor sax on “Tenth Avenue Freeze-Out” 7) **David Sanborn** plays baritone sax on “Tenth Avenue Freeze-Out” 8) **Wayne Andre** plays trombone on “Tenth Avenue Freeze-Out”

Part Four - Other Songs From The Born To Run Era

The following titles emanate from the late 1973 to early 1975 period. All the titles below are based on information garnered from completed lyric sheets, partially completed lyric sheets or documents in Bruce’s handwriting containing song titles (but no lyrics). Springsteen often creates song titles first and then attempts to write words and music around it - so the existence of a song title is no guarantee that a song was ever created. There is as yet no evidence these were completed songs (words and music) and no evidence they were recorded during any of the //Born To Run// sessions. If they do exist as recordings then they would most likely be either as work-in-progress home cassette recordings or from the little known about 1974 sessions at 914 Sound Studios. It's also possible that some of these songs are merely work-in-progress titles for other tracks that we are more familiar with.

Some of the songs listed below are included on early draft listings of what Springsteen imagined "Album #3" (i.e, //Born To Run//) might look like. Bruce noted song timings for several of these tracks, so presumably recordings of some kind existed. Five of these lists are known, all apparently composed at some point in 1974:


 * Early draft listing #1** | **[[file:early74-btr-tracklisting.jpg|Early draft listing #2]]** | **[[file:born-to-run-early-tracklist.jpg|Early draft listings #3 and #4]]** | **[[file:early-tracklist-5sm.jpg|Early draft listing #5]]**

Listings #3 and #4 appear to be composed on the same sheet of paper. It is unknown whether the two lists are contemporary, or if Springsteen returned to the same page some time later to add a second track list. Source for these two lists is a display at the // From Asbury Park to the Promised Land: The Life and Music of Bruce Springsteen // exhibition, a typed version of which is reproduced in issue 89 of //Backstreets// magazine. A sixth draft listing includes the songs "Angel Baby", [Saga of the] "Architect Angel", "Thundercrack", "Vision (sic) at Fort Horn", "Two Hearts" [In True Waltz Time], "Here She Comes", "Glory Road", "Janey Needs A Shooter", and "Jungleland". This particular listing dates from very early in the sessions, perhaps as early as the spring of 1974.

Note: It is not certain which song Springsteen is referring to - it could potentially be "A Night Like This" (aka "Angel Baby") or "Angel('s) Blues (aka "Ride On Sweet William"). The former is known to have been performed on June 2, 1974 in Toledo, OH and was certainly recorded at 914 Studios in October 1974 (see above). The latter was performed live on March 10, 1974 in Houston, TX. No studio recording of this song is known. Note: Track 5 on list #2 is "Lonesome Town (Blondie)", potentially the same song. No other details known. Note: Track ten on listing #3, written as "Orbison - Born To Be Alone". Could very well be an early working title for the Orbison-influenced "Thunder Road", even before it was called "Glory Road". Note: Track five on listing #3. No other details known. Note: Track four on listing #1, with a running time of 4:00. No other details known. Note: Track ten on listing #4. Written as "Dual", but given the tone of other titles from the same era, we think Springsteen meant "Duel". Note: Track seven on listing #5. Could be a working title for another song. Note: Track five on listing #5. Title known only from this early track listing. Note: Track five on listing #1, track four (with "Born To Run") on #2, and track 13 on #4. During an interview with Australian journalist Ian "Molly" Meldrum in April 1995, Springsteen was asked: //"was Thunder Road originally called Glory Road?"// Springsteen: //"That title sounds familiar. That sounds right."// He goes on to say that he is //"...not sure if that song started out as Glory Road or not but the title came out of the [Robert] Mitchem picture".// A lyric sheet that has emerged since the Meldrum interview suggests that "Glory Road" may actually have been a title or phrase used by Springsteen while he was in the process of composing "Born To Run". However, since "Glory Road" and "Born To Run" both appear on listings #1 and #4, it seems possible that they were individual songs at some point before they were combined to form the final version of "Born To Run". Note: Track 11 on listing #4 and also known as "Here She Comes". Apparently resurrected in 1980 during The River Tour as introduction to "I Wanna Marry You". The title would crop up once again in 1988 during the introduction to "All That Heaven Will Allow". Title also found on a, and appears to be contemporary with songs such as "Lonely Night In The Park", "Janey Needs A Shooter" and "Thunder Road". Note: Title printed in the second edition of //Backstreets: Springsteen, The Man And His Music// by Charles R. Cross. No other details known. Note: Potentially a working title for "A Love So Fine". Junior Walker was a saxophonist, whose group Junior Walker & the All Stars were signed to the Motown label in the 1960s. In early 1974 Springsteen was regularly incorporating Walker's "Shotgun" into performances of "Rosalita (Come Out Tonight)". Note: Title printed in the second edition of //Backstreets: Springsteen, The Man And His Music// by Charles R. Cross. Possibly one of a number of songs that evolved into "Born To Run". During an interview with Australian journalist Ian "Molly" Meldrum in April 1995, Springsteen was asked //"When you are writing do you take parts of different songs and combine them into a single song? Because “Born To Tun” itself seemed to have parts of “The Violent Ones” in it."// Springsteen seems surprised by the question, and responds //"I don't remember it but I would like to hear it because it's a good title."// Note: Track seven of listing #4. No other details known. Note: Title printed in the second edition of //Backstreets: Springsteen, The Man And His Music// by Charles R. Cross, and found as track ten on listing #2 as "Harlem". Note: Track five of listing #2. Possibly the same song as "Baby & Me (Blondie)", listed above. Title printed in the second edition of //Backstreets: Springsteen, The Man And His Music// by Charles R. Cross, but apparently misread and listed as "Lonesome Train". Note: Title printed in the second edition of //Backstreets: Springsteen, The Man And His Music// by Charles R. Cross. A handwritten lyric sheet was sold at auction in June 2014. "Of Love & Defiance" can also be found in a handwritten list of potential titles for album #3. Note: Title printed in the second edition of //Backstreets: Springsteen, The Man And His Music// by Charles R. Cross. Note: Track twelve of listing #4. No other details known. Note: Also known as "Portrait Of An Imaginary Waitress (Fountainableu)", as found in the second edition of //Backstreets: Springsteen, The Man And His Music// by Charles R. Cross. Cross notes that this song may have evolved into "Linda Let Me Be The One". Easily the most curious song title from this era. Note: Track seven of listing #1. No other details known. Note: Title printed in the second edition of //Backstreets: Springsteen, The Man And His Music// by Charles R. Cross. Note: The Shirelles. Played live during the Born To Run Tour. Also could be a Springsteen original that shares the same title. Note: Track nine of listing #2. Also known as "Tokyo" and "And The Band Played". Performed live as late as June 1974 and apparently considered for several albums before disappearing without trace. Note: Title printed in the second edition of //Backstreets: Springsteen, The Man And His Music// by Charles R. Cross. Note: Track seven of listing #3. No other details known. Note: Known from a 1974 list of potential album titles. Previously, a song titled "Sometimes At Night" was performed by the Bruce Springsteen Band in 1972, and a handwritten lyric sheet was displayed at the Brussels Hard Rock Cafe in 2013. It seems unlikely that Springsteen was considering using "Sometimes At Night" for the album, but instead appropriated the title. Note: Also known as "Song To Orphans". Track two on listing #2. Also as "Wild Billy's Song To Orphans" on listing #3 (although this could potentially be a different song altogether) and as "A Song For Orphans" on listing #4. Clearly a strong candidate for inclusion on album #3 during the early days of the sessions. Recorded at 914 Studios in February 1973 during the //Wild & Innocent// sessions. Note: Title printed in the second edition of //Backstreets: Springsteen, The Man And His Music// by Charles R. Cross. Note: Track ten of both listing #3 and 4. No other details known. Note: Title printed in the second edition of //Backstreets: Springsteen, The Man And His Music// by Charles R. Cross. Note: Title printed in the second edition of //Backstreets: Springsteen, The Man And His Music// by Charles R. Cross. May not be a song, since "The Street Goes On Forever" can also be found in a handwritten list of potential titles for album #3. Note: Title printed in the second edition of //Backstreets: Springsteen, The Man And His Music// by Charles R. Cross. May not be a song, since "Surrender At The Citadel" can also be found in a handwritten list of potential titles for album #3. Note: Track six on listing #4. No other details known. Note: Title printed in the second edition of //Backstreets: Springsteen, The Man And His Music// by Charles R. Cross. According to Louis P. Masur's 2009 book //Runaway Dream: Born To Run And Bruce Springsteen's American Vision//, "She's The One" was originally titled "Virgin Summer Nights". It's more plausible that "Virgin Summer Nights" was a different song that later evolved into "She's The One". Note: Track six of listing #2. Also known as "War And Roses". May have been considered for the title of album #3. Note: Probably not a song title - handwritten lyrics for an early draft version of "Born To Run" include the phrase "Wild Angels" in the margin. Note: Track three of listing #2, written by Springsteen as "Wild Billy's Lullabye or (Dream)". We can't be certain what Bruce means here, but "Wild Billy's Dream" may be an alternative title for "Wild Billy's Lullaby". May be a sequel to "Wild Billy's Circus Story". Also of interest is track six of listing #3, "Wild Billy's Song To Orphans". There appears to be a connection, but the nature of the relationship between "Song To Orphans" and "Wild Billy" is a mystery. Note: Or "Wildfire". Title printed in the second edition of //Backstreets: Springsteen, The Man And His Music// by Charles R. Cross. Note: Also known as "Wild One". Track eleven of listing #1. Springsteen may have taken the title from the 1953 Marlon Brando movie //The Wild One//. Indeed, the leather motorcycle jacket worn by Brando in the movie is very similar to that sported by Springsteen on the //Born To Run// album sleeve. Title also seen on another handwritten document, Springsteen's note reads "Janey Need A Shooter to Wild One chords". Note: Title printed in the second edition of //Backstreets: Springsteen, The Man And His Music// by Charles R. Cross.

Page last edited by {$revisioneditor} on {$revisiondate} include component="page" page="footnote_2"